![]() ![]() NEP Sweetwater, a pioneer in display innovations, provided the projectors to the soundstage for the project. To achieve a realistic VFX sequence, Lux Machina put a rear projection screen in front of the plane’s windshield and carried out the cockpit shots on a soundstage. ![]() While the film’s flight sequences were primarily shot in the air, it was not feasible to fly the Dark Star plane in the introduction of the movie - given that the plane does not exist in real life. To achieve this, Lux Machina hung two 125 x 24-foot curved projection screens around the perimeter of the set, blended fifteen projectors and projected 270º views of the base at various times of the day. ![]() The creative team decided to recreate the classroom on a soundstage using virtual production – an ideal solution that offered them control of the time of day, lighting and colour, and the physical environment. The team wanted to set the scene in an actual building on an Air Force base, yet the classroom could not be used for filming as that would disrupt base activities. Los Angeles-based Lux Machina, which specialises in virtual production, in-camera VFX, display technologies and creative screens control were tasked with installing, focusing, blending and programming fifteen projectors onto a curved surface for the classroom sequence - all in a week’s time. Made 35 years later than the original, Top Gun: Maverick took advantage of virtual production technologies to deliver photorealistic virtual scenes, which would have been challenging to shoot as efficiently on location. Since its release, Top Gun: Maverick, the long-awaited sequel to the 1986 hit, Top Gun, has scored $1.5 billion at the box office. ![]()
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